Word: stuttering
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Dates: during 1980-1989
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...comparison with his great contemporaries, Berlin wrote simple songs. Not for him the intricate rhythms and trick accents of a George Gershwin, although the strangely sinister Puttin' on the Ritz twists and turns back on itself like a stutter-stepping snake. Nor did Berlin, who wrote his own words, generally show Cole Porter's kind of cleverness, although he could put some English on a homely sentiment in a song like Lazy (1924): "I wanna peep through the deep/ Tangled wildwood,/ Counting sheep/ 'Til I sleep/ Like a child would./ With a great big valise full of books to read...
...longer describable in the semirural idyll of Impressionism, a place whose emergent reality had more to do with inventive technology, mass media and the density of the great capital, Paris. Cubism is the urban art par excellence. It celebrates the rapid stream of half-completed impressions, the overlay and stutter of images and ideas, enforced by the tempo of city life: it is the art of cultural compression and flux. With its materials, subjects and techniques, it lighted up the commonness of the modern world...
...slack period will be short-lived and will be followed by renewed growth, a scenario that has them searching for metaphors. David Hale, chief economist of Chicago's Kemper Financial Services, characterizes the slowdown as an "output pause." Geoffrey Moore, an economics professor at Columbia University, talks of a "stutter step." Economist Lyle Gramley, a former Fed governor, says that by late 1990 the slowdown may be followed by a period of "economic refreshment...
...soft-pedal hawkish rhetoric in Iowa. Bush's first Iowa TV ad, aired last month, stressed his strong support for the President's INF treaty with the Soviet Union. Similarly, no epithet hurled by the Bush campaign has irked Dole more than the label "Senator Straddle" for his awkward stutter-step on the INF treaty...
...extremes. An angular, bearded man with the suffering face of a symbolist poet, he communes with the keyboard, not with the audience. His technique is solid but not especially flashy, his tone rich but not warm. Like many Soviets, Feltsman has some residual romantic mannerisms, such as a rhythmic stutter step in phrasing that in the early 19th century would have been viewed as a genuine rubato (literally, robbing the time value of one note and adding it to another) but is today decried as distortion...